Trivium Art HistoryThe Artists

Odilon RedonThe faces we see in our dreams

Odilon Redon was a French artist born in 1840. Redon contributed to the Symbolist movement and died in 1916.

Odilon Redon was born Bertrand-Jean Redon — his family was wealthy and his youth spent drawing and painting. Artistically he was a bit of a slow starter, failing entrance to the architecture program at École des Beaux-Arts, and dabbling his 20’s away with engraving, lithography and sculpture.

“Charcoal does not allow kindness; it is sober, and only with real emotion can you draw results from it."

When Odilon Redon was 30 years old, he put aside his brushes and engraving tools to fight in the Franco-Prussian war. A year later the French lost the war, and Redon moved to Paris with a headful of bad dreams. Black visions filled his notebooks after the war. Charcoal drawings of creatures hanging in empty space. Winged devils grip giant faces with empty eye sockets. Ears sprout bat wings, and faces emerge from the backs of hairy spiders. Just two decades earlier, Charles Darwin had published The Origin of Species, and the haunting concept of mutated life gripped Europe. Redon’s ‘noirs’, his charcoal abominations, illustrated our murky and prehistoric biology.

In 1884, Redon’s work was featured in Joris-Karl Huysmans’s novel À rebours, or Against Nature. It described the decadent perversities of an anti-hero who collected sinister artwork by Redon, Goya, and El Greco — and experimented with weird sex. This association with the macabre grew Redon’s notoriety, and to this day his noirs are among his most famous work.

"My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined."

For Redon, science would slowly grow to include the spiritual. The Germain idea of Naturphilosophie, that all living things are interconnected, would layer into Buddhist and Hindu philosophy — bringing color back into Redon’s world. By the 1890’s, Redon moved almost exclusively to pastel — saying it “comforted” him — and the spiders and spermatoid eyeballs were replaced by twigs of fresh branches, grasses and flowers. Even his Cyclops appears benevolent. His paintings are dreamscapes still, but they are meditative, quiet — finally at peace.

"The Artist submits from day to day to the fatal rhythm of the impulses of the universal world which encloses him, continual centre of sensations, always pliant, hypnotized by the marvels of nature which he loves, he scrutinizes. His eyes, like his soul, are in perpetual communion with the most fortuitous of phenomena." — Odilon Redon

Read More

Figure

1876

Tears

1878

Gnome

1879

The Cube

1880

The Crying Spider

1881

The Smiling Spider

1881

Les Origines — Plate 2

1883

Les Origines — Plate 1

1883

Les Origines — Plate 3

1883

Les Origines — Cover

1883

Christ

1887

Closed Eyes

1889

Closed Eyes

1890

Cup of Cognition (The Children's Cup)

1894

Hantise (Obsession)

1894

Christ In Silence

1897

Centaur

1895-1900

Pegasus and the Muse

1900

Baronne de Domecy

1900

Trees on a Yellow Background

1901

Roger et Angelica

1910

Buddha

1910

Butterflies

1910

Silence

1911

Large Green Vase with Mixed Flowers

1910-1912

The Birth of Venus

1912

The Cyclops

1914

Art in your inbox.
Sign up for our monthly newsletter.